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Dave Heath is something of a musical touchstone for this
listener. Both his Manchester and Celtic connections, visited, in this
instance, in the influences of rave and folk music, are also ones very
close to my musical heart. The fruits of Heath's collaboration with the
brilliant Scottish percussionist Evelyn Glennie, recorded here show it
to be an inspired and entirely apt one. Certainly, between them they have
been responsible for some of the most invigorating yet wholeheartedly
musical expositions of the contemporary scene in recent years exemplified
by Glennie's ground-breaking premiere recording of James MacMillan's superb
Veni, Veni Emmanuel.

Regarding this release, the composer's ongoing debt to
modern jazz remains a constant, if in a slightly more refined form than
in his earlier pieces (e.g. Out of the Cool), with Chick Corea
and Gary Burton's legendary ECM collaboration Crystal Silence cited
as a major influence on Darkness to Light, different versions of
which open and close this CD. The centrepiece of the disc is the highly
percussive African Sunrise/Manhattan Rave which, it has to be admitted,
is light years removed from the standard Musicweb fare. The music, particularly
in the Manhattan section, is sample heavy and pop-aware, and you
will no doubt love or hate it but, either way, the opportunity for virtuosity
that it affords Glennie is stunningly realised.

Dawn of a New Age represents the more lyrical
side of Heath's muse and revisits the Celtic themes of Heath's superb
Linn recording of the violin and flute concerti (The Celtic and
The Connemara), although again it still finds room for elements
drawn from the rave/acid house scene of the early to mid nineties. As
if further recommendation were necessary, it features the superb saxophone
playing of the ubiquitous John Harle and is, for me, the musical high
point of a very interesting if often frenetic disc. Asked to describe
Dave Heath and his work, I would say, no doubt at the risk of being accused
of hyperbole, that he is a slightly younger, British answer to John Adams.
The same sense of respect for tradition working alongside a real ear for
the best of "modern" links the two composers. An American Heath could
quite easily have come up with I was staring at the ceiling… whereas
there is not a great deal of distance between Heath's transmutation of
Celtic folk themes in Four Elements (especially Celtic Air)
and Adams' essay on the New England shape-note tradition in his clarinet
concerto (Gnarly Buttons). As an entry point to Heath's world,
I would buy the Linn disc first but this one is also great and Glennie
fans need not hesitate.

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